Pure Filth (2024)

I share microorganisms with others like my lover, but also with other beings such as cows, silk moths, and minks. Sexuality and queerness have long been expressed through silk, fur, feathers, hair, and leather. Wearing the skins of other beings, while being made up of many, where does my body end, and where do the bodies of lovers, kin, cloth, or environment begin?

Pure Filth is an exploration of the queerness and erotic possibilities of the monstrous condition of always being more-than human.  Fleshy entities of silk, leather, hair, and fur penetrate, wrinkle and drape into each other, forming undulating landscapes pierced by glass plugs of blood agar and neon.

The installation transforms with each space it occupies. Lurking in the depths of Gallery 69 in Oslo, it spilled through door frames, plugs, and air ducts while attempting to hide behind a white sheet of silk. At the Smallest Gallery in Soho, in Londons’s now gentrified sex district, the work played with the idea of the peep-show. Visible only through the gallery’s windows, the work was installed in the spirit of returning the gaze that wish to confine desire, and especially queer desire, to the margins, quietly unsettling the city’s polished surfaces with its own contaminating presence.

Second-hand silk, cows leather and ferret fur, microorganisms from the artist, cow, ferret and silkworms, artist´s own blood and hair, neon lights.